tag:blogger.com,1999:blog-32523684508211396122015-08-02T08:58:15.054-07:00The Good, the Bad, and Godzilla 続・夕陽の呉爾羅Comments, news and opinion by August RagoneAugust Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.comBlogger441125tag:blogger.com,1999:blog-3252368450821139612.post-444804804463627782015-08-01T20:00:00.000-07:002015-08-02T07:44:43.627-07:00HAS “GODZILLA 2016” BEGUN PRODUCTION? And Did These Men Design Toho's New Big G?<b>Rumors are trickling out of Japan: Which of them will ring true?</b><br /><br /><img height="553" src="https://lh3.googleusercontent.com/-moheECEHJ7Q/Vb2CrfFVULI/AAAAAAAAE6M/zbANQVJx6-I/s800-Ic42/G2016_Design_Blog.jpg" width="400" /><br /><div class="MsoNormal"><i>Rumors are hinting details on Toho's next Godzilla and his design.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="color: red;">UPDATE: </span>On December 7, 2014, I posted <a href="http://augustragone.blogspot.com/2014/12/the-japanese-godzilla-will-rise-again.html" target="_blank">a breaking story</a>&nbsp;concerning Toho's announcement on an all-new Japanese Godzilla film (title to be announced) to begin production the following summer, helmed by celebrated genre filmmakers Hideaki Anno (<i>Evangelion</i>) and Shinji Higuchi (<i>Attack On Titan</i>), with Anno turning in the final draft of his screenplay this past March. With pre-production starting sometime last year, and with a call for extras this September, the film should start rolling within the month.&nbsp;</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="528" src="https://lh3.googleusercontent.com/-PTHMJyl5aH8/Vb2CrU3qh3I/AAAAAAAAE6A/yAf4LkKJ2LM/s800-Ic42/G14_Design_blog.jpg" width="400" /></div><div class="MsoNormal"><i>New Godzilla design rumored to be more classic than Legendary's.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Meanwhile, a connected source contacted “The Good, the Bad, and Godzilla” to share some information — which has yet to be officially released or verified — about the design of the Toho’s new Godzilla. Or rather, the men who may be responsible for the new design, which has yet to be unveiled; and the rumor is not only good — if it's true — it’s gigantic. In fact, it would be explosive:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="533" src="https://lh3.googleusercontent.com/-ecm7uzfvLIs/Vb2Cr6BJzxI/AAAAAAAAE6c/XAxcfaivdGU/s800-Ic42/Maeda_Design_blog.jpg" width="400" /></div><div class="MsoNormal"><i>Is this Godzilla's new designer? Famed illustrator Mahiro Maeda.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Word has it that celebrated animator and designer, Mahiro Maeda, has visualized the new Godzilla. Maeda’s long and distinguished career started by working with Anno in 1982 on SUPER DIMENSION FORTRESS MACROSS, followed in 1983 by the famous Daicon IV opening anime film, a mecha designer on ROBOT CARNIVAL (1987), then in 1988 with both Anno and Higuchi on HONEAMISE: THE ROYAL SPACE FORCE and GUNBUSTER: AIM FOR THE TOP, which forged the creation of Gainax.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="349" src="https://lh3.googleusercontent.com/-VpWbHjmsB3s/Vb2CsBvW7-I/AAAAAAAAE6Y/V9Mn3qgq5ec/s800-Ic42/Maeda_Fury_blog.jpg" width="400" /></div><div class="MsoNormal"><i>Maeada's concept for Immortan Joe for a proposed anime series.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">In 1992, Meada and Higuchi went on to form the design house, Gonzo, and has also worked with Quentin Tarantino, creating the animated sequence for KILL BILL (2004), and more recently as a designer for George Miller on MAD MAX: FURY ROAD (2015). He also has animator credits on several films directed by Hayao Miyazaki, NAUSICAÄ OF THE VALLEY OF THE WIND (1984), LAPUTA, CASTLE IN THE SKY (1986), and PORCO ROSSO (1992).</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><o:p><img height="550" src="https://lh3.googleusercontent.com/-LMkJhBO1apQ/Vb2Ct2r8eOI/AAAAAAAAE6o/7r9WPqwEzfI/s800-Ic42/Ultraman_Powered_Poster.jpg" width="400" /></o:p></div><div class="MsoNormal"><i>Bandai's original promotional poster art for ULTRAMAN POWERED.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">But, why is Maeda exciting for kaiju fans? In 1993, he re-imagined over a dozen of the classic Ultra Monsters, and executed the mecha design, for ULTRAMAN: THE ULTIMATE HERO (aka “Ultraman Great”), then went on to design the monsters for Shusuke Kaneko’s GAMERA trilogy (1995-1999). I don’t believe that there is anyone who will argue that Maeda’s re-imaging of Gamera, as he evolves through each film, was not brilliant and set the bar for future Japanese monster movies.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="566" src="https://lh3.googleusercontent.com/-GdHHxTAcUJQ/Vb2CrpSTcsI/AAAAAAAAE6E/o7X7YhhWaXo/s800-Ic42/God_Warrior_blog.jpg" width="400" /></div><div class="MsoNormal"><i>Visual Effects Museum event poster featuring the Giant God Warrior.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Among Maeda’s voluminous and impressive design credits are Angels 6 &amp; 7 for Anno’s EVANGELION (1995), as well as ESCAFLOWNE (1996), TURN-A GUNDAM (1999), and SAMURAI CHAMPLOO (2004). But, if that’s not impressive enough, he also designed the titular creature for Anno and Higuchi’s short film, GIANT GOD WARRIOR APPEARS IN TOKYO (2013), which was brought to three-dimensional life by the incredible sculpting talents of Takayuki Takeya.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="545" src="https://lh3.googleusercontent.com/-tO6prfh5r1w/Vb2CvbYEytI/AAAAAAAAE68/pyGk9ArKTwI/s800-Ic42/_.jpg" width="400" /></div><div class="MsoNormal"><i>Has prolific sculpture Takayuki Takeya created the new maquette?</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">If you don’t know who Takayuki Takeya is, you’ve been sleeping under a rock since the 1980s — a powerhouse designer and sculpture, who’s work has influenced a generation, and can be seen in everything from toys and garage kits (Bandai’s Super Imaginative Chogokin line), the films and television (Kamen Rider Drive), anime series (Gilgamesh), and video games (Final Fantasy VII). He’s also visualized characters for the films of Keita Amemiya from FUTURE NINJA (1988), ZEIRAM (1991), and MIKAZUKI (2000).</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="556" src="https://lh3.googleusercontent.com/-ScKSB-0ia50/Vb2JH5MEJxI/AAAAAAAAE74/FxEYHBcnw-s/s800-Ic42/Predator.jpg" width="400" /></div><div class="MsoNormal"><i>Takeda's "Predator Riding A Horse" for Sideshow Collectables.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Well, if that doesn’t jog your memory, perhaps you might remember that statue of a Predator riding a mounted Xenomorph? Yeah, that’s Takayuki Takeya. If you’ve collected Devilman toys over the last two years, yeah, that’s Takayuki Takeya, again. Even if you’re not that deep into Japanese fantasy films, but you’re into STAR WARS, and his work looks familiar, that’s because he was also responsible for the Tamashii Nation’s “Samurai Star Wars” line. Impressed yet?</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="500" src="https://lh3.googleusercontent.com/-EXSSycc4q4I/Vb2CumXSEmI/AAAAAAAAE64/r2SoQODGTg0/s800-Ic42/Vader_Takeyuki_blog.jpg" width="400" /></div><div class="MsoNormal"><i>Takeya's "Samurai Star Wars" Darth Vader for Tamashii Nations.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Takeya’s fans number an impressive roster including writer Michael Moorcock (<i>Elric of Melniboné</i>), Simon Lee (<i>Pacific Rim</i>), Shiflett Brothers, and (reportedly), Nike’s CEO, Mark Parker. More recently, Takeya served as character designer for the nightmarish colossi in Shinji Higuchi’s two-feature film epic, ATTACK ON TITAN and ATTACK ON TITAN: END OF THE WORLD (2015). It’s no surprise to believe that Higuchi would hire Takeya to bring a new Godzilla design by Mahiro Maeda to life as a production maquette. But, is any of this true?</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="245" src="https://lh3.googleusercontent.com/-98hbtN3eWYc/Vb2Cs55DFhI/AAAAAAAAE6g/eM1mx8Onz3g/s800-Ic42/Titan_takayuki_blog.png" width="400" /></div><div class="MsoNormal"><i>One of Takeya's colossal nightmares from ATTACK ON TITAN (2015)!</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">At least, this is the information coming out of our sources connected to the production. If all of this news pans out to be true, we could be in for something not only fresh and original, but also truly scary; which as imposing and impressive the recent Godzilla designs have been, they all lacked the fear that the original invoked. According to one of the people close to the production, who wanted to remain anonymous, “(This new) Godzilla is based on the original (1954 version), but is going to be… frightening.”</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img height="574" src="https://lh3.googleusercontent.com/-tlTUl0jcEcg/Vb2HJqo1OzI/AAAAAAAAE7g/rChFMF9OVDY/s800-Ic42/G54_Garage_blog.jpg" width="400" /></div><div class="MsoNormal"><i>Shinobu Matsumura's fantastic Godzilla 54 Garage Kit for Kaiyodo.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Reading that quote, makes me recall an early concept for the Big G, anticipating the production of RETURN OF GODZILLA, illustrated by Hariken “Hurricane” Ryu in the pages of a 1984 issue of Kodansha’s <i>TV Magazine</i>, which was a cross between the ’54 and ’64 Godzilla, infused with an impressive demonic presence — foreshadowing GAMERA 3’s “Nightmare Gamera” — which we ultimately didn’t get.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">This time, though, if what these sources have shared with us, we could see the definitive Godzilla many fans, such as myself, have been waiting decades for.<br /><br /><i>Cross your fingers (and toes) that this is happening and that official news is not long off! Stay tuned for more details as they develop...</i><br /><i><br /></i></div>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com6tag:blogger.com,1999:blog-3252368450821139612.post-61499253106628881452015-07-16T00:00:00.000-07:002015-08-01T13:31:52.735-07:00HOSTING SHOUT'S "KAIJU MOVIE MARATHON" 24-Hours of Japanese Monster Movies and Me!<b>新番組『怪獣映画大会』登場！</b><br /><br /><img height="503" src="https://lh3.googleusercontent.com/-gSS0utazBXQ/VahJvvhXkTI/AAAAAAAAE5Q/LwwCO3BuwIs/s800-Ic42/kaiju_movie_marathon_blog.png" width="400" /><br /><i>The monstrous event starts this Saturday at Midnight, Eastern Time!</i><br /><br />Prepare yourselves for something monstrous on July 18th...<br /><br /><a href="http://www.shoutfactorytv.com/" target="_blank">Shout! Factory TV</a> has teamed up with the original monster fan magazine, <i><a href="http://www.famousmonsters.com/" target="_blank">Famous Monsters of Filmland</a></i>, to bring you the Kaiju Movie Marathon! Featuring nine classic <i>Showa</i>-era <i>kaiju eiga</i> (Japanese monster movies) from Toho Studios, spotlighting Godzilla, including hand-picked episodes of Tsuburaya Productions' ULTRA Q (1966) and ULTRA SEVEN (1967), streaming live for 24 hours on July 18th (from midnight to midnight Eastern Time). Hosted by Yours Truly!<br /><br />Back in March, I was approached by a creative team at <a href="http://www.shoutfactory.com/" target="_blank">Shout! Factory</a> to see if I wanted to be involved in this project, and I couldn't say no. Not only because this would be a fantastic opportunity, but because it was a chance to become a full, red-blooded, American Horror Host, just like my childhood hero, <a href="http://www.bobwilkins.net/" target="_blank">Bob Wilkins</a> of "Creature Features" fame (if just for one day). They forwarded a rough script and told me to "make it your own." And that's exactly what I did.<br /><br />We shot all of my segments in late June and I hope that everyone will enjoy them — I tried to keep it light, have fun with the material, but also be informative, drop some little known facts, and be completely respectful to the films and the genre (why wouldn't I? I love these films). I brought along some of my favorite Bullmark figures, several original movie posters, and some "Creature Features" tributes to decorate the set (shot at Chronicle Books in San Francisco).<br /><br />Director Brian Blum, Cameraman Michael Bloom, and I had a blast!<br /><br />This weekend's event will stream at <a href="http://www.shoutfactorytvlive.com/">www.shoutfactorytvlive.com</a>. For mobile, tablet and connected TV devices the marathon is accessible via the Pluto TV app. The marathon is also available via Pluto TV (CH 427) in the living room (Amazon Fire TV and Fire TV Stick, Android TV, Chromecast and Apple Airplay), on the go (apps for iOS, Android and Amazon) and at your fingertips on PCs, Macs via the web.<br /><br />THE "KAIJU MOVIE MARATHON" SCHEDULE (All Times Eastern):<br /><br />12:00 am — GODZILLA: The Uncut Japanese Original (1954)<br />01:45 am — ULTRA Q (1966)<br />05:15 am — ULTRA SEVEN (1967)<br />06:30&nbsp;am&nbsp;— GODZILLA, KING OF THE MONSTERS (1954)<br />08:15&nbsp;am&nbsp;— ULTRA SEVEN (1967)<br />09:00&nbsp;am&nbsp;— RODAN (1956)<br />10:30&nbsp;am&nbsp;— ULTRA SEVEN (1967)<br />11:15&nbsp;am&nbsp;— GODZILLA RAIDS AGAIN (1955)<br />12:45&nbsp;pm&nbsp;— ULTRA SEVEN (1967)<br />01:30 pm&nbsp;— GODZILLA VS. THE THING (1964)<br />03:15 pm — GHIDRAH, THE THREE-HEADED MONSTER (1964)<br />05:00&nbsp;pm&nbsp;— MONSTER ZERO (1965)<br />06:45&nbsp;pm&nbsp;— GODZILLA'S REVENGE (1969)<br />08:15&nbsp;pm&nbsp;— TERROR OF MECHAGODZILLA (1975)<br />10:00&nbsp;pm&nbsp;— Repeat: GODZILLA: The Uncut Japanese Original (1954)<br />11:45&nbsp;pm&nbsp;— Repeat: GODZILLA'S REVENGE&nbsp;(1969)<br />01:15 am — Repeat: TERROR OF MECHAGODZILLA (1975)<br /><br />Just a note on the episodes I picked for this special presentation; all of them were not picked as the best of their respective series, but as the best of the kaiju-oriented episodes of each show. So, tune in for the kaiju calamity on July 18th, and live tweet with #godzilla. Shout! Factory TV and&nbsp;<i>Famous Monsters of Filmland</i>&nbsp;will be giving away prizes to fans and viewers of the marathon, including a $100 gift certificate for Shout! Factory merchandize.<br /><br />In the words of Bob Wilkins, remember to <i>"Watch Horror Films... Keep America Strong!"</i><br /><i><br /></i><i>(Viewers outside North America can view via Channel 427 on <a href="http://www.plutotv.com/" target="_blank">Pluto TV</a>.)</i><br /><i><br /></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com2tag:blogger.com,1999:blog-3252368450821139612.post-61105967609891263542015-07-15T00:00:00.000-07:002015-07-15T15:50:52.648-07:00CRITERION #90: KOBAYASHI'S UNCUT "KWAIDAN" Coming to DVD & Blu-ray on October 20, 2015!<b>小林正樹の</b><b>ノカット版</b><b>『怪談』はBlu-ray とDVDに米国に来ます！</b><br /><br /><img height="563" src="https://lh3.googleusercontent.com/-mWh8kgWvg6g/Vabg044qvSI/AAAAAAAAE4g/luQ85jUNv54/s800-Ic42/90_box_348x490_original.jpg" width="400" /><br /><i>New cover art for KWAIDAN designed by <a href="https://www.behance.net/seanfreeman" target="_blank">Sean Freeman</a>.</i><br /><br />For the first time, the uncut, original three-hour version of Masaki Kobayashi's haunting anthology, KWAIDAN (1964), will be released on DVD and Blu-ray in the United States this October 20, 2015 by Janus Films and the Criterion Collection!<br /><br />From the Criterion press release: <i>After more than a decade of sober political dramas and social-minded period pieces, the great Japanese director Masaki Kobayashi shifted gears dramatically for this rapturously stylized quartet of ghost stories. Featuring colorfully surreal sets and luminous cinematography, these haunting tales of demonic comeuppance and spiritual trials, adapted from writer Lafcadio Hearn’s collections of Japanese folklore, are existentially frightening and meticulously crafted.</i><br /><br />This all-new home video release of KWAIDAN will include:<br /><br />• New 2K digital restoration of director Kobayashi’s original cut<br />• Uncompressed monaural soundtrack on the Blu-ray<br />• Audio commentary by film historian Stephen Prince<br />• 1993 Kobayashi interview by director Masahiro Shinoda<br />• New interview with assistant director Kiyoshi Ogasawara<br />• New piece about author Lafcadio Hearn<br />• Trailers<br />• New English subtitle translation<br />• An essay by critic Geoffrey O’Brien<br /><br />Japan<br />1964<br />181 minutes<br />Color<br />2.35:1<br />Japanese<br /><br /><a href="http://www.criterion.com/films/629-kwaidan" target="_blank">The Criterion Collection's page for KWAIDAN</a><br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-10718968021496468402015-07-08T00:00:00.000-07:002015-07-08T20:34:32.256-07:00RAGONE STOMPS INTO CHI-TOWN FOR G-FEST! 22nd Annual Chicago Kaiju Con July 10th-12th<b>大怪獣ラゴーニ、シカゴの「Gフェス」に現わる！ </b><br /><br /><img height="600" src="http://lh3.googleusercontent.com/-s05dXw2NrWU/VZ3qh9JT2_I/AAAAAAAAE30/Z2128VYWqaw/s800/print_for_g_fest_charity__by_chrisscalf-d8zsaxu.jpg" width="400" /><br /><i>This year's incredible G-Fest Charity print by Chris Scalf!</i><br /><br />Yes, it's time to return to the the Windy City, Chicago (it's really in Rosemont at the <a href="http://www.g-fan.com/html/gfest_xxii/hotel_xxii.php" target="_blank">Crown Plaza O'Hare</a>) for the annual event known as <a href="http://www.g-fan.com/html/gfest_xxii/gfest_xxii.php" target="_blank">"G-Fest"</a>, the longest-running all-kaiju event in North America. I've been asked to return as a convention guest, but this year, I've been given the moniker of "Special Guest Presenter" (sure, I'll take that, thank you).<br /><br />For the 22nd show, I'll be stationed at my booth in the Dealer's Room (between my pals, <a href="http://bobsartdujour.blogspot.com/" target="_blank">Bob Eggleton</a> and Michael Cherkowski's <a href="http://www.thevampirerobots.com/" target="_blank">"Vampire Robots"</a>), and will be signing copies of the paperback edition of <a href="http://www.chroniclebooks.com/titles/eiji-tsuburaya-master-of-monsters-paperback.html" target="_blank">"Eiji Tsuburaya: Master of Monsters"</a> while supplies last — and yes, you can bring your pre-purchased copies (I'll deface those for free, too).<br /><br />There's going to be a lot happening, especially with the guests from Japan, autograph signings, fan sessions, presentations, panels, a costume contest, vendors and more (see the convention links for details). Here's a list of my whereabouts for the weekend:<br /><br /><br /><div style="text-align: center;"><span style="color: blue; font-size: large;"><b>—FRIDAY JULY 10, 2015—</b></span></div><h4><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">2:00 PM - 4:00 PM • Book Signing (Dealer’s Room)</span></b></h4><h4><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">4:30 PM - 5:45 PM • Book Signing (Dealer’s Room)</span></b></h4><h4><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">6:00 PM - 6:30 PM • Opening Ceremonies (Ballroom 2)</span></b></h4><h4><b><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">6:45 PM - 7:00 PM • Book Signing (Dealer’s Room)</span></b></h4><div style="text-align: center;"><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><br /></span></div><div style="text-align: center;"><span style="color: blue; font-size: large;"><b>—SATURDAY JULY 11, 2015—</b></span></div><div><h4></h4><h4></h4><h4></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">10:00 AM - 11:45 PM • Book Signing (Dealer’s Room)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">12:00 PM - 1:00 PM • “50 Years of Gamera” (Ballroom 2)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">1:45 PM - 2:45 PM • Book Signing (Dealer’s Room)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">3:00 PM - 5:00 PM • “Monster Zero” Live!” (Ballroom 2)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">5:15 PM - 7:00 PM • Book Signing (Dealer’s Room)</span></h4><br /><div style="text-align: center;"><span style="color: blue; font-size: large;">—SUNDAY JULY 12, 2015—</span></div><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; text-align: left;">10:00 AM - 12:30 PM • Book Signing (Dealer’s Room)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; text-align: left;">1:00 PM - 2:30 PM • Awards Luncheon (Ballroom 1)</span></h4><h4><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; text-align: left;">2:45 PM - 4:00 PM • Book Signing (Dealer’s Room)</span></h4><div style="text-align: left;"><h4></h4><h4><div><span style="font-weight: normal;"><br /></span></div><span style="font-weight: normal;"><span style="font-family: Trebuchet MS, sans-serif;">Hope to see some of you in Chicago for this year's crazy kaiju convention!</span></span><br /><div><span style="font-weight: normal;"><br /></span></div></h4></div></div>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com1tag:blogger.com,1999:blog-3252368450821139612.post-69128288815095329432015-07-07T00:00:00.000-07:002015-07-07T04:30:12.171-07:00HAPPY BIRTHDAY, EIJI TSUBURAYA! JULY 10, 1901 - JANUARY 25, 1970<b>お誕生日おめでとう、円谷英二様！</b><br /><b><br /></b><img height="543" src="http://lh3.googleusercontent.com/-vp2R0mKS7SY/VZu1erY3ywI/AAAAAAAAE3M/RlS3eXfXljs/s800/Screen%252520Shot%2525202015-07-07%252520at%2525204.02.17%252520AM.png" width="400" /><br /><i>Goofing around on the set of FRANKENSTEIN VS. BARAGON (1965).</i><br /><br />The “Father of Japanese Special Visual Effects” was born on July 10, 1901 as Eiichi Tsuburaya in the town of Sukagawa, Fukushima. As with his life, even his date of birth is steeped in legend —&nbsp;official sources have often listed that Eiji Tsuburaya was born on July 7th — a date of fortune in the celebration of&nbsp;<span class="Apple-style-span" style="font-style: italic;">Tanabata</span>&nbsp;(meaning “Seven Evenings”), a Japanese&nbsp;<i>star festival</i>&nbsp;derived from the&nbsp;<span class="Apple-style-span" style="font-style: italic;">Obon</span>&nbsp;(a celebration of ancestors).&nbsp;<span class="Apple-style-span" style="font-style: italic;">Tanabata</span>&nbsp;is usually celebrated on July 7th or August 7th, to commemorate the meeting of <i>Orihime</i> (Vega) and <i>Hikoboshi</i> (Altair).<br /><span class="Apple-style-span" style="font-style: italic;"><br /></span><span class="Apple-style-span" style="font-style: italic;">Tanabata</span>&nbsp;originated from the Chinese&nbsp;<span class="Apple-style-span" style="font-style: italic;">Festival to Plead for Skills</span>&nbsp;(Oi Xi), which came to Japan in the Heian Period (795-1192), and spread to the public during the Edo Period (1603-1867), where it was then combined with&nbsp;<span class="Apple-style-span" style="font-style: italic;">Obon</span>&nbsp;traditions. From the Edo Period, girls wished for better sewing and craftsmanship skills, while boys wished for better calligraphy skills, by writing wishes on strips of&nbsp;<span class="Apple-style-span" style="font-style: italic;">tanzaku</span>&nbsp;paper, which were hung on bamboo trees. This tradition is still practiced today in Japan.<br /><br />Even if Eiji Tsuburaya was not born on July 7th, the myth of being born on the&nbsp;<span class="Apple-style-span" style="font-style: italic;">Tanabata</span>&nbsp;certainly was apt, because Tsuburaya would become famous for his multiple artistic and practical skills, which he had in spades — and eventually, the name Tsuburaya would become world-renown with the production of GODZILLA (1954).<br /><br /><i>Order your copy of <a href="http://www.amazon.com/dp/1452135398" target="_blank">"Eiji Tsuburaya: Master of Monsters"</a> (Chronicle Books), today!</i><br /><i><br /></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-8388501713621884552015-07-05T00:00:00.000-07:002015-07-05T16:03:33.794-07:00HAPPY BIRTHDAY, SATOSHI "BIN" FURUYA! JULY 5, 1943<b>お誕生日おめでとう、古谷敏！ウルトラマンとアマギ隊員よ永遠に！</b><br /><b><br /></b><img height="603" src="http://lh3.googleusercontent.com/-BLRD7z8zpqk/VZmOcMbghNI/AAAAAAAAE2w/zGBEQx5lGf0/s800/Furuya_2015.png" width="400" /><br /><i>Alas, poor Ultraman! I knew him, Officer Amagi...</i><br /><i><br /></i>At the age of six, <a href="http://www.hulu.com/ultraman-the-complete-series" target="_blank">ULTRAMAN</a> came into my life through our living room television set, and my life would never be the same. While I loved dinosaurs, monsters, and the space age, and had already met Godzilla kith and kin, it was the weekday broadcasts of the silver and red superhero, which drove me to obsess over science fiction and fantasy films and teleseries from the land of the rising monsters.<br /><br />And the actor who brought this savior from the stars to life was Satoshi "Bin" Furuya.<br /><br />Born in Tokyo's upscale Azabu Ward (now a part of the Minato Ward), Furuya was picked as one of Toho Studio's 15th Annual "New Faces" (along with ULTRAMAN co-star Masanari Nihei), after graduating from the Toho Acting School in 1960. Cast in several small or background parts, in films such as Ishiro Honda's MOTHRA (1961), he garnered his first screen credit in Jun Fukuda's THE HOWLING JAILBREAKERS (1962) as "Ken".<br /><br />After appearing in a number of <i>kaiju eiga</i> (such as GHIDRAH), Furuya's towering stature and physical proportions did not go unnoticed by Eiji Tsuburaya, who thought he would be a wonderful monster suit actor for the series <a href="http://www.shoutfactorytv.com/series/ultra-q" target="_blank">ULTRA Q</a> (1966). Furuya resisted, at first, but who could refuse working for Japan's visual effects wizard? Then, he soon found himself under the wing of Haruo Nakajima, Godzilla himself. After ULTRA Q, Eiji thought that Furuya would be the perfect choice to portray the titular character of his next series: ULTRAMAN.<br /><br />The rest, as they say, is history — Furuya was the first and the best Ultraman. Shortly after the conclusion of ULTRAMAN, all of the young actor's efforts and suffering beneath the suffocating suit, was again by Tsuburaya Productions for their next series. Sans masks, this time around, in the main cast of <a href="http://www.shoutfactorytv.com/series/ultra-seven" target="_blank">ULTRA SEVEN</a> (1967) as "Officer Amagi" of the Ultra Guard. A character that endeared himself to a generation of Japanese fans to this very day.<br /><br />But, to me, he will always be the one and only Ultraman!<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-17274070286742818902015-07-04T00:00:00.000-07:002015-07-05T12:23:59.722-07:00SHOUTING KAIJU & STREAMING SUPERHEROES ULTRA Q & ULTRA SEVEN on Shout! Factory TV!<b>ストリーミング『ウルトラQ』と『ウルトラセブン』VOD !</b><br /><br /><img height="566" src="http://lh3.googleusercontent.com/-869hxLxNhxc/UdNoi7dpmqI/AAAAAAAAC3g/lkmqF4ZzuBA/s800/Ultra_Q.jpg" width="400" /><br /><i>Watch episodes of ULTRA Q online anywhere or on your TV via Roku!</i><br /><br />Launching this past February, <a href="http://www.shoutfactorytv.com/" target="_blank">Shout! Factory TV</a> is a free "premiere digital entertainment streaming service that brings timeless and contemporary cult favorites to pop culture fans," with the "highest quality video available for all titles," free-to-consumer ad supported, original videos, special bonus behind-the-scenes featurettes, and live programming (such as the <i>Mystery Science Theater 3000 Turkey Day Marathon</i>).<br /><br /><img height="573" src="http://lh3.googleusercontent.com/-HpVDiFDuIlI/UEpXg9Q95_I/AAAAAAAACWw/KtSnFCCNqLk/s800/U7_Package_Shout.jpg" width="400" /><br /><i>Watch episodes of ULTRA SEVEN online or on your TV via Roku!</i><br /><br />On July 1st, the service uploaded all 28-episodes of the classic 1966 kaiju-fantasy series ULTRA Q (<a href="http://www.shoutfactorytv.com/series/ultra-q" target="_blank">click link to start viewing</a>), precursor to ULTRAMAN, and 48-episodes of the 1967 sci-fi superhero series ULTRA SEVEN (<a href="http://www.shoutfactorytv.com/series/ultra-seven" target="_blank">click to start viewing</a>), which followed ULTRAMAN, produced by Eiji Tsuburaya's world-renown Tsuburaya Productions, and are&nbsp;fully subtitled in English!<br /><br />So, for any of those of you in North America who passed on picking up the either or both of these series on DVD from the <a href="http://www.shoutfactory.com/" target="_blank">Shout! Factory</a> label — here's your chance to see both of these classic series and find out what all the fuss is about. So, tune in and kaiju out!<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com2tag:blogger.com,1999:blog-3252368450821139612.post-53265034556506875962015-06-29T00:00:00.000-07:002015-06-30T12:27:26.568-07:00"TITANS" SET TO ATTACK NORTH AMERICA Hollywood World Premiere on July 14th!<b>実写版『進撃の巨人』7月15日にアメリカ上陸！</b><br /><br /><img height="565" src="http://lh3.googleusercontent.com/-qFBHSmYD-F0/VZHOr6PRN4I/AAAAAAAAE10/izAsEoxaOHc/s800/Attack_on_Titan_2.jpg" width="400" /><br /><i>July's World Premiere in Hollywood will supersede Japanese debut.</i><br /><br />The first of director Shinji Higuchi's two-part ATTACK ON TITAN live action feature films will be released theatrically throughout North, Central and South America by US-based anime label, Funimation Entertainment, who is also partnering with Toho to host the World Premiere at the Egyptian Theatre in Hollywood on July 14th (ahead of its Tokyo premiere on July 21st and general public Japanese release on August 1st).<br /><br /><img height="565" src="http://lh3.googleusercontent.com/-W0SLNxdYJak/VZHQzKJyzhI/AAAAAAAAE2I/mdI9phSYqNA/s800/Attack_on_Titan-Haruma_Miura.jpg" width="400" /><br /><i>Leading man, Haruma Miura, will attend the Hollywood premiere.</i><br /><br />Director Higuchi (SINKING OF JAPAN), who is gearing up to shoot Toho's next Godzilla film, will be joined on the red-carpet by the film's stars, Haruma Miura and Kiko Mizuhara. Before the big premiere in Hollywood, director Higuchi will be promoting the film this year's San Diego Comic-Con International by signing autographs at the Funimation Entertainment booth (#4135) on July 12th.<br /><br /><img height="565" src="http://lh3.googleusercontent.com/-pnRQyGwgl9c/VZHQyEiuSdI/AAAAAAAAE2A/QU27bSHVzqw/s800/Attack-on-titan_Kiko_Mizuhara.jpg" width="400" /><br /><i>Co-star Kiko Mizuhara will also walk the red carpet on July 14th.</i><br /><br />ATTACK ON TITAN will also be hitting Australian cinemas in August via Madman Entertainment, while the second film, END OF THE WORLD, will have its Japanese bow on September 19th. At this time, there has been no word of a release for the second film on this side of the Pacific (although it's a safe bet to say its in the hands of Funimation). Stay tuned for more information and news as it develops!<br /><br />(Source: Funimation Entertainment)<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-81490299923699559842015-05-19T00:00:00.000-07:002015-05-19T03:41:16.436-07:00LIVE ACTION “GAIKING” STILL MOVING FORWARD Toei Animation’s Bold Plans for 2015 & Beyond!<b>ガイキングと東映アニメーション 新たなCGプロジェクト複数企画</b><br /><br /><img height="598" src="http://lh3.googleusercontent.com/-knQxGhA9hK8/VVsNBPymR1I/AAAAAAAAExM/59nBCkAYxFE/s800/Gaiking.jpg" width="400" /><br /><i>DVD jacket for the original GAIKING television series from 1976.</i><br /><br /><span style="color: red;">SCOOP:</span> With the fiscal year ending on March 31, 2015, Toei Animation made its full-year announced its financial results, while strategies for the company’s medium-to-long-term plans were revealed on May 19th to the press. Concerning their plans for in-house production, they’re suggesting that CG animation will be the emphasis as the impetuous in the decade to come.<br /><br /><img height="560" src="http://lh3.googleusercontent.com/-Ym9jDBeDGEI/VVsNBm_bkcI/AAAAAAAAExQ/kIodD0uwIeU/s800/Expelled.jpg" width="400" /><br /><i>Poster for the robot sci-fi film, EXPELLED FROM PARADISE (2014).</i><br /><br /> In 2014, the smashing success of&nbsp;Seiji Mizushima's animated sci-fi feature, EXPELLED FROM PARADISE (<i>Rakuen Tsuiho</i>), attracted much attention, and is leading Toei Animation in their current planning of original CG projects to follow. While specific titles and content were not revealed, it was intimated that the studio would like to continue using the success of EXPELLED FROM PARADISE as their model in an ongoing basis. The film was screened in 15 select theaters in the United States by Aniplex USA on December 13, 2014.<br /><br /><img height="572" src="http://lh3.googleusercontent.com/-slwvgPAavNo/VVsNBrZlmMI/AAAAAAAAExU/HwAqh-d81zM/s800/Harlock_Aramaki.jpeg" width="400" /><br /><i>Poster for Shinji Aramaki's retelling of CAPTAIN HARLOCK (2013).</i><br /><br />Therefore, the expansion of &nbsp;bigger budgeted theatrical CG animated features is also in progress, developing from the foundation of Shinji Aramaki’s CAPTIAN HARLOCK (<i>Kyaputen Harokku</i>, 2013; also making the rounds in select US theaters and currently available on Netflix) and Keiichi Sato’s SAINT SEIYA: LEGEND OF SANCTUARY (<i>Seinto Seiya Rejendo Obu Sankuchuari</i>, 2014). Currently, Toei Animation has the longest history of domestic production in Japan, and they're making it known that they aim to move towards the future in the planning and execution of CG animation productions.<br /><br /><img height="566" src="http://lh3.googleusercontent.com/-oBFOM6CZWf0/VVsNCmCWw_I/AAAAAAAAExk/QzDHFelwvoY/s800/Seiya_Sanctuary.jpg" width="400" /><br /><i>Poster for Keiichi Sato's SAINT SEIYA: LEGACY OF SANCTUARY (2014).</i><br /><br />Progress is being forged with yet another original animated film, FILE (N): PROJECT PQ, directed by Naoki Miyahara, to be released around Spring 2016. Early promotion has already launched a dedicated page on the “Yahoo! Kids” portal site (in conjunction with Yahoo! Japan), featuring a series of promotion video “dance lessons.” The theme of the film is work through dance, as a “youth dance movie,” in a story of five attractive girls coming of age.<br /><br /><img height="565" src="http://lh3.googleusercontent.com/-LnqPr3qDrnc/VVsNB2ICLeI/AAAAAAAAExY/2i4QFPnSNn8/s800/PQ_image.jpg" width="400" /><br /><i>Art for&nbsp;Naoki Miyahara's&nbsp;upcoming FILE (N): PROJECT PQ (2016).</i><br /><br />Also equally emphasized by Toei Animation is <a href="http://augustragone.blogspot.com/2012/12/live-action-gaiking-feature-is-now-go.html" target="_blank">GAIKING</a>. Announced several years ago as a live action feature film coproduced with Gale Anne Hurd's Valhalla Entertainment (producers of “The Walking Dead”) and ANEW (All Nippon Entertainment Works). While progress on development is still actively moving forwards, Toei Animation hinted that in addition to GAIKING, multiple (Super Robot) titles are being planned for production, and it’s very likely that a surprise announcement will be made, regarding this, in the near future.<br /><br /><img height="469" src="http://lh3.googleusercontent.com/-YhCaj1IWWqc/VVsNCwnHuXI/AAAAAAAAExo/CJpav4swEk4/s800/black-wallpapers-5.jpg" width="400" /><br /><i>Toei Animation's mascot from Kimio&nbsp;Yabuki's&nbsp;PUSS 'N BOOTS (1969).</i><br /><br />Toei Animation will continue with a call for investment from creators and outside studios to support their future planning and production. Now, Toei Animation’s Oizumi Studio is undergoing renovations, with the completion date set for summer 2017. Meanwhile, the studio's research and development teams are pushing ahead in expansion of rendering technology, including assessing the feasibility in producing an CG animated television series.<br /><br />In supporting the development of young creators, Toei Animation claims that they are enriching and improving the production process. Specifically, in the creation of pilot films that will improve the chances of becoming hit productions.<br /><br />(<i>Translated from the May 19, 2015 <a href="http://www.animeanime.biz/archives/21086" target="_blank">Anime! Anime! Business</a>&nbsp;story.</i>)<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com1tag:blogger.com,1999:blog-3252368450821139612.post-4382541502427439232015-04-01T14:00:00.000-07:002015-04-04T13:17:12.047-07:00THE DIRECTORS OF "GODZILLA 2016" SPEAK: "I'll Give You the Greatest Worst Nightmare!"<b>樋口真嗣：「来年、最高で最悪の悪夢を皆様にお届けします」！</b><br /> <span style="font-family: Trebuchet MS, sans-serif;"></span><img src="https://lh6.googleusercontent.com/-ZXqVdjBbaHc/VRsuaFM2rCI/AAAAAAAAEuE/tjcikYSoqjg/s800/G2016_Anno-Higuchi_blog.jpg" /><br /><i><span style="font-family: Trebuchet MS, sans-serif;">These men are planning to destroy Japan next summer. Again.</span></i><br /><i><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></i><span style="font-family: Trebuchet MS, sans-serif;">Yesterday, when Toho released their announcement to the press that Hideaki Anno and Shinji Higuchi were teaming together to co-direct the next domestic Godzilla film to be produced in Japan, jaws could be heard dropping across the Pacific. Yes, the man who pushed the state of miniature visual effects to the next level, and the man who revolutionized storytelling in anime, were to be bringing the Big G back home — in tandem with Legendary's trilogy directed by Gareth Edwards.</span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;">I don't think anyone on this side of the Pacific, after more that two decades of whatever Toho threw at fans, realize the gravity of this paring. Visually, they may have a better idea once the first of Higuchi's pair of live action ATTACK ON TITAN films hit Japanese screens this summer. As for Anno, who is also penning the screenplay, all you have to do is look at his body of work to see there's a big change coming. A very big change. Something that we might never thought we'd see.</span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;">As the press release related, the film will be shooting this fall and will be released "Summer 2016." More information has been gleaned from the Extras Casting Call that has already gone out from the CineBazar casting agency, which has opened applications for potential extras needed between September and November. This indicates the film's Principal Photography will be completed before December, giving Higuchi and Anno several months to shoot and render the visual effects.</span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;">Personally, while I've always looked towards the new productions with a sense of cautious optimism, notably, <a href="http://augustragone.blogspot.com/2014/04/pondering-gareth-edwards-godzilla-will.html" target="_blank">the Gareth Edwards film</a>, I'm very excited for the potential of this new incarnation, especially as we get closer to production time this fall. Until then, perhaps we can get a sense of what these two hardcore fans of the <i>Showa </i><i>Godzilla</i> (1954-1975) have in mind, from their two written statements issued by Toho:</span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-size: x-large;"><b><span style="font-family: Courier New, Courier, monospace;">HIDEAKI ANNO</span></b></span><br /><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>WRITER/SUPERVISING DIRECTOR</b></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><img src="https://lh5.googleusercontent.com/-yCk7ZONc-Ak/VRxdv62dK6I/AAAAAAAAEu4/Yv_C5f5bq04/s800/Anno_blog.jpg" /></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;"><i>December 2012. After the production of EVANGELION: 3.0 YOU CAN (NOT) REDO, I was broken. A so-called depression set in. It was the comeuppance for six years that drained my soul. 2013 came and went. That was a year in which negative memories rumbled back, over and over. While I could represent myself, it became impossible for me to even physically go near the studio, even once, because of the burden of the next film [EVAGELION 4]. Early 2014. I was finally able to return to the studio. Then, I gradually got back into working, because of that year of self-rehabilitation.</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>So, it’s 2015. After 20 years after the premiere of the old EVA; and you've been waiting more than two years since you last bought your tickets, so I’m working towards realizing the completion of the new EVANGELION theatrical features (why am I promoting it, already?). To those who follow me, and all the anime fans, it’s only through your continued support that gives me the motivation to move forward, again, towards the finale. Sincerely, I thank you.</i></span><br /><br /><span style="font-family: Trebuchet MS, sans-serif;"><i>And, now, at the same time, I’m also starting work putting together a visual effects fantasy film. This all started at the end of January, 2013. A representative from Toho contacted me directly, saying, “We’d like to direct a new Godzilla film.” At the time, I was still recovering from EVA 3.0, and right on the spot, flatly refused the offer, “It’s impossible. Even to begin work on the next EVA is impossible.”&nbsp;</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>Eventually, it was Toho’s sincerity and the enthusiasm of my ally, Director Shinji Higuchi, and I decided to take the job as Director that March. My prayer is that this will not be just a repeat of science fiction visuals of the past, and the wish we put into the Tokusatsu Museum Exhibit, was to embody the idea of giving back to the creators and artists who came before us, which was our intention and our responsibility. And when that epiphany&nbsp;occurred to me, my resolution was to undertake this task.</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>Now, one does because they can, not because they cannot. I made my decision because this is a new, once-in-a-lifetime chance. This is not EVA. This is not an original creation of my own, and is something I’ve never done before — this is why I decided to do it.</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>That May, I began my work with pen to paper. And I decided on how I was going to depict the principal subject. And in the following month, June, I submitted my G-Project Memos and Story Proposals to Toho, and then began working on the Plot Outline, etc.&nbsp;</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>Godzilla exists in a world of science fiction, not only of dreams and hopes, but he's a caricature of reality, a satire, a mirror image. Recently, Japan has also been careless in the way it has attempted to depict him. In all honesty, Japanese production budgets and schedules are so tight, compared to the world’s capitol [Hollywood], not to mention the constraints imposed on filmmakers in terms of content. Frankly, I’m not sure how far outside the lines we can go.</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><span style="font-family: Trebuchet MS, sans-serif;"><i>However, movies have pride, even&nbsp;trifling&nbsp;little films; therefore, just as in the case of the new EVAs, I’m going in full force. When I think about what I’ve accomplished, the twists and turns befitting a screenplay, everything has led to this point.&nbsp;I write this with the hope that the reader might understand at least to some degree that no matter what a creator says, it’s just an excuse, but I’m under pressure to make a visual effects fantasy film representative of modern Japan, with the full awareness of our current situation, which will be subjected to intentions both good and bad.</i></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span><i><span style="font-family: Trebuchet MS, sans-serif;">Finally, to all those of you who have given me support, to all the fans who’ve purchased tickets to my films, to everyone who has given me the will to continue with my works, I’m eternally grateful.&nbsp;</span><span style="font-family: 'Trebuchet MS', sans-serif;">Thank you.</span></i><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-size: x-large;"><b><span style="font-family: Courier New, Courier, monospace;">SHINJI HIGUCHI</span></b></span><br /><span style="font-family: Courier New, Courier, monospace; font-size: large;"><b>DIRECTOR/VISUAL EFFECTS DIRECTOR</b></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><img src="https://lh4.googleusercontent.com/-X6c65-GoNnk/VRxdv5DwTOI/AAAAAAAAEvE/-c2cXL8TyGM/s800/Higuchi_blog.jpg" /></span><br /><span style="font-family: Trebuchet MS, sans-serif;"><br /></span><i>The thought of this resurrection has my chest pounding. Almost three decades have passed since I snuck into this film industry, and had no idea what would transpire before me, because I was so idealistic. The difference between my first, carefree world of amateur filmmaking, compared to the reality of the ups and downs of the industry, I feel as though I’ve been a hero running for 30 years. But, at last, the time has come!&nbsp;</i><br /><i><br /></i><i>I’ve come to see those reckless heroes of my high school and college days hit mid-life. It all seems like a dream, but now I must come back to reality. There’s no more room for idle talk. “What you really want to do, what you really need to do, what you should never do, what you may not be able to do,” are the thoughts that’ve fought in my head, and held me back.</i><br /><i><br /></i><i>It’s a veritable championship over one’s own mind. What now, then? Playtime is over. Nevertheless, with my best friend standing beside me, we will triumph over the pressure that would otherwise make me run far away. I was born in this country which gave life to this great divinity [Godzilla], which destined me to work in visual effects, up until this very moment. I give unending thanks to Fate for this opportunity; so next year, I’ll give you the greatest worst nightmare.</i><br /><i><br /></i><span style="color: blue;">Stay tuned to this blog for more news and updates on production of "Godzilla 2016"!</span><br /><br />(<i>Special thanks to the redoubtable Marc Miyake for pinch hitting!</i>)<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com3tag:blogger.com,1999:blog-3252368450821139612.post-45574423479567720612015-03-31T15:00:00.000-07:002015-04-02T15:12:43.881-07:00"EVANGELION" CREATOR HELMS NEW "GODZILLA" Hideaki Anno & Shinji Higuchi Revive the King!<b>2016年新作『ゴジラ』脚本・総監督 庵野秀明＆監督 樋口真嗣 !</b><br /><br /><img src="https://lh4.googleusercontent.com/-u12sISIoZGQ/VRspBW-34OI/AAAAAAAAEtw/wiqATI4L_5g/s800/G2016_Claw_blog.jpg" /><br /><i>First promotional icon for upcoming film to be released next year!</i><br /><br />The news only broke a short time ago in Japan as I begin to type (2:00 PDT), but according to the regarded film site, <i><a href="http://www.oricon.co.jp/" target="_blank">Oricon</a></i>, not only has the author of the screenplay for Toho's upcoming, yet untitled, domestic <i>Godzilla</i> movie been announced (<a href="http://augustragone.blogspot.com/2014/12/the-japanese-godzilla-will-rise-again.html" target="_blank">of which I first reported outside of Japan, here</a>), but that the film boasts two directors; one credited as the "Supervising Director" and "Screenwriter," while the other has the "Director" and "Visual Effects Director" credits.<br /><br />The new <i>Godzilla</i> will start shooting this fall and is slated for release in Japan next summer. Both of these exceptional filmmakers are life-long friends, and are very well-known outside of Japan, mostly for their work with the Gainax animation house on such hit anime series as NADIA, SECRET OF THE BLUE WATER (1990) and NEON GENESIS EVANGELION (1995), but they are also no strangers to the world of <i>Tokusatsu</i> (visual effects films): Hideaki Anno and Shinji Higuchi.<br /><br />Perhaps you don't realize what this means.&nbsp;<i>It is momentous.</i><br /><i><br /></i><img src="https://lh3.googleusercontent.com/-Gg-0qMuptYE/VRsyoFBTsHI/AAAAAAAAEuY/sWmaL7iqR48/s800/G2016_Higuchi_blog.jpg" /><br /><i>Higuchi at Tokusatsu Exhibit conference in 2012. Photo: C/Net Japan</i><br /><br />Director Higuchi (b. 1965), who posted photos of an empty Toho Studios conference room this past weekend, is no stranger to the realm of the giant monster movie, supervising and directing the visual effects for highly-lauded "Gamera Trilogy" of the 1990s. His revolutionary vision of miniature effects stunned audiences and turned the industry upon its head. Higuchi has helmed such films as THE SINKING OF JAPAN (2006) and upcoming two-parter ATTACK ON TITAN (2015).<br /><br />And before you ask, Higuchi's association with the Big G goes back to his serving as an effects assistant on RETURN OF GODZILLA (1984). But, since he was swept up with Gainax, drawing storyboards for Hiroyuki Yamaga's WINGS OF HONNEAMISE (1987) and then NADIA, it wasn't until 1995 that he returned to visual effects, and another six years before he supervised a sequence for GIANT MONSTERS ALL-OUT ATTACK (2001). This time, he's getting his own <i>Godzilla</i>.<br /><br /><img src="https://lh5.googleusercontent.com/-iN1s2rxljlw/VRsyn4Lm9eI/AAAAAAAAEuU/OFg9CcJ_z3k/s800/G2016_Anno_blog.jpg" /><br /><i>Anno at Tokusatsu Exhibit conference in 2012. Photo: C/Net Japan</i><br /><br />Coming into the field as a loyal fan of Eiji Tsuburaya's visual effects films, Director Anno (b. 1960), was one of many <i>Tokusatsu Maniacs</i> who was captivated by the Anime Boom of the '70s and '80s, being a hardcore fanatic of the seminal <i>Space Battleship Yamato</i> franchise, Anno would channel most of his energies into that field, creating the singular anime series of the last 20 years. And now, Hideaki Anno is <i>making a Godzilla film</i>. Let that sink in.<br /><br />On Toho's <a href="http://godzilla.jp/news/1268/" target="_blank">official Godzilla website</a>,&nbsp;the directors were asked to give a message to fans concerning this latest resurrection, some of which details Anno's conflict in having to delay proceeding on the next (and final) EVANGELION film in order to take up the Big G's reigns, while Higuchi expressed his passionate "Love of Godzilla." But, while both men are determined in their solidarity, what is their state on mind going into this production with so much at stake?<br /><br /><i><span style="color: red;"><a href="http://augustragone.blogspot.com/2015/04/the-directors-of-godzilla-2016-speak.html" target="_blank">Read&nbsp;the messages from Hideaki Anno &amp; Shinji Highuchi, here!</a></span></i><br /><i><br /></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com2tag:blogger.com,1999:blog-3252368450821139612.post-73803350194047285062015-03-31T00:00:00.000-07:002015-03-31T06:16:13.779-07:00"CYBORG 009" IS RETURNING TO TELEVISION! 50th Anniversary Brings All-New Adventures<b>石ノ森正太郎の『サイボーグ009』50周年で新作映像化決定！</b><br /><br /><img src="https://lh3.googleusercontent.com/-ujYyPq_6p0E/VRpeR_vVALI/AAAAAAAAErI/dOO-9Y8SXnI/s800/img_newseries009.png" /><br /><i>Preview art for the third anime series based on the famous manga.</i><br /><i><br /></i>The late <i>mangaka</i> Shotaro Ishimori's team of cybernetic warriors will return this year in an all-new animated series this year, with director Jun Kawagoe at the helm, to celebrate the heroes' 50th Anniversary. "Cyborg 009" first appeared in the pages of <i>Shonen King</i> magazine in 1964, which Ishimori never finished, but was completed by his son, Joe Onodera, and Ishimori Productions stable artists Masato Hayase and Sugar Sato, as "God's War" in 2014.<br /><br /><img src="https://lh4.googleusercontent.com/--hQuAWQsQ1g/VRqD7mY7abI/AAAAAAAAEsA/-2NG-O11Y3Y/s800/Cyborg_68_blog.jpg" /><br /><i>Recent DVD reissue of the original 1968 Toei Animation series.</i><br /><br />There have been three anime series based on the characters (1968, 1979 and 2001; the latter having its own three-apart adaptation of the conclusion, "God's War," which was then-unfinished), as well as four theatrical films in 1966, 1967, 1980, and 2012 (Kenji Kamiyama's CG animated 009 RE: CYBORG was a failure of sorts, while <i>Ghost In the Shell</i>'s Mamoru Oshii directed a 3D short for Panasonic in 2010). This new adaptation, reportedly, is aiming to develop the further adventures of the Cyborg 009 team.<br /><br /><img src="https://lh3.googleusercontent.com/-Vgf0g0lEaH4/VRqMm4Kt__I/AAAAAAAAEtM/Kp7JcFZ8lgw/s800/Cyborg_79_blog.jpg" /><br /><i>DVD art for the popular 1979 series produced with Nippon Sunrise.</i><br /><br />Transcending decades, fans have passed the torch from generation to generation, as new adaptations have found followers who've fallen in love with Ishimori's bionic avengers, so the chances for success with a new series, as opposed to a reboot feature, are far greater. The staff will have to meet this challenge by staying faithful to the origins of the characters and the dilemmas that have made "Cyborg 009" the classic that is has remained for half a century.<br /><br /><img src="https://lh3.googleusercontent.com/-A0YusC187GI/VRqD66PZ8NI/AAAAAAAAEsQ/gwVdvphE5kc/s800/Cyborg_2001_blog.jpg" /><br /><i>Jun Kawagoe's 2001 series was broadcast on the Cartoon Network.</i><br /><br />This challenge is being met by the return of veteran Jun Kawagoe (<i>Mazin Kaiser SKL</i>), who directed the critical and ratings hit, CYBORG 009: THE CYBORG SOLDIER, which ran for 51 episodes from 2001-02. Kawagoe's first go was a very faithful to the original, keeping in spirit with the original look and storyline, but updating it for a modern generation, without selling out the spirit and soul of what Ishimori created in 1964.<br /><br /><img src="https://lh3.googleusercontent.com/-Zb3dcS9VmOE/VRqD7XVfCQI/AAAAAAAAEsE/BLQI2P1uLcg/s800/Cyborg_2012_blog.jpg" /><br /><i>Kenji Kamiyama's reimagined CG feature 009 RE: CYBORG (2012).</i><br /><br />After 13 years, Kawagoe has come back to give new life to Ishimori's creation — the first to be produced after the completion of "God's War." So, naturally, fans may have concerns about every aspect of story, the designs, and how they are integrated into this completely fresh production. While no date has been set, fans are awaiting the return of their favorite cyborg guardians, which they expect to be true and faithful to the original, although steering them towards a new horizon.<br /><br />Can lightning strike a second time with Kawagoe? We'll find out later this year...<br /><br /><span style="color: red;"><i><a href="http://009ing.com/" target="_blank">Cyborg 009 Official Site</a></i></span><br /><span style="color: red;"><br /></span>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-73285391101182099322015-03-28T00:00:00.000-07:002015-04-30T08:35:26.974-07:00VOTE FOR ME: IT'S RONDO AWARDS TIME AGAIN! Well, You Don't Have to. But, It Would Be Nice.<b>第13回「ロンド • ハットン クラシックホラー賞」始まる！</b><br /><br /><img src="https://lh4.googleusercontent.com/-XJALrczMI1I/VRdZW1cZulI/AAAAAAAAEpo/C0daz-_i6Gk/s800/Rondo_2011_blog_2.jpg" /><br /><i>Yes, it's true. Love means never having to say you're ugly.</i><br /><br />Actually, I'm a bit late to the party on announcing this, since the Nominees and Ballot went online at the beginning of the month; I've been nominated in two categories Best Article (Category 13: ‘The Complete Godzilla Chronology, 1954-2004,’ "Famous Monsters" #274) and Best Blog (Category 19: "The Good, the Bad and the Godzilla"). I'm flattered once again for my blog, which has received it's 6th nomination, and garnering five welcomed "Honorable Mentions"; especially, when it's just something I goof with (maybe I should take it more seriously?).<br /><br />With that being said, I can't assume full credit in the nomination for ‘The Complete Godzilla Chronology, 1954-2004' (FM #274), because while I did put together and edit each of the annual "Kaiju Issues," I didn't author every entry in this issue (and all the writers are credited on their respective pieces). If, for some bizarre, irrational reason we win this particular award, it will be accepted in the name of all the writers who worked hard on this issue and the champion FM staff: David Chapple, David Eric Dopko, Bob Eggleton, Matt Frank, Mark Jaramillo, David McRobie, Jason Varney, Ed Blair, Holly Interlandi, Dominie Lee, Jennifer Gerritsen, and publisher Philip Kim.<br /><br />As an optimist, I don't think we're going to win because of the ton of amazing colleagues on the ballot, but its heartwarming and humbling to be nominated amongst so many deserving writers, artists, thinkers, producers and creative folk — truly a monstrous list of superstars. I just like Japanese movies and television shows featuring monsters, mutants and superheroes, and to have whatever work I out there, mostly done for the love of it (because you're not going to make much money from it), well, it's a nice to be recognized for it — and just that simple recognition by your peers is reward enough.<br /><br />But, if you're family, a friend, or a fan (or fiend) who'd like to see me win a second statue from <a href="http://rondoaward.com/rondoaward.com/blog/" target="_blank">The Rondo Hatton Classic Horror Awards</a> (never did I believe that I'd win even one), please follow the link below for the official rules and ballot. Now, if you're unfamiliar with any of the categories, you are not required to vote for everyone and everything. You can simply vote in the categories you wish you, and copy and paste them into an e-mail and send them off to the address included in the instructions — and thank you!<br /><br />(Tim Lucas already has enough of them, already.)<br /><br />All ballots must be submitted by Midnight, Sunday, April 17, 2015! Fill out your ballot, here:<br /><br /><a href="http://rondoaward.com/rondoaward.com/blog" target="_blank"><span style="color: red;">THE 13TH ANNUAL RONDO HATTON CLASSIC HORROR AWARDS BALLOT</span></a><br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-12489116416460333312015-03-18T00:00:00.000-07:002015-03-23T16:57:20.791-07:00RETURN OF THE "KAIJU SAKABA" MONSTER BAR! Brew, Snacks, and Kaiju Come to Osaka in April<b>『元祖怪獣酒場』が大阪なんばに登場 ! 2015年4月下旬オープン！</b><br /><br /><img src="https://lh6.googleusercontent.com/-1cMqdmcrcN8/VQo1a9CsfoI/AAAAAAAAEmo/5MDaglU9uiM/s800/Genso_Kaiju_Sakaba_blog-1.jpg" /><br /><i>Kanegon welcomes you to Osaka's new "Original Monster Bar" in April!</i><br /><br />On the eve of this month's closing of the "<a href="http://www.kaiju-sakaba.com/" target="_blank">Kaiju Sakaba</a>" (The Monster Bar) in Kawasaki, near Tokyo (with a <a href="http://www.kaiju-sakaba.com/message/" target="_blank">cryptic notice</a> on their website concerning the spot undergoing "relocation"), Tsuburaya Productions has just announced a new pub: "<a href="http://ganso-kaiju-sakaba.com/" target="_blank">Genso Kaiju Sakaba</a>" (The Original Monster Bar) will be opening in Osaka this coming April for a daily immersive experience of drinks, eats, and monsters, monsters, monsters. If you've been lucky enough to visit the Kawasaki pub, you know how fun it will be!<br /><br /><img src="https://lh6.googleusercontent.com/-QXaqzZMgLvs/VQo3T_Gk_fI/AAAAAAAAEnA/iUmnO7QRTnw/s800/Genso_Kaiju_Sakaba_blog-2.jpg" /><br /><i>Crazy Kanegon is cooing koo-koos to open shop this spring in Osaka!</i><br /><br />While the Kawasaki pub was "managed" by the nefarious insectoid alien, Baltan (seen in <i><b>Ultraman</b></i>), the Osaka spin-off will be similarly "managed" by the whimsical and weird money-munching mutant, Kanegon (from&nbsp;<i><b>Ultra Q</b></i>)! The <a href="http://ganso-kaiju-sakaba.com/" target="_blank">new website</a> (Japanese only) has put a call out soliciting for part time staff at this new location near Nanba Station, Osaka. So, next time you're in town, be sure to stop in and hang out with the Ultra Monsters!<br /><br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-64026596619336709762015-03-02T00:00:00.000-08:002015-03-23T16:58:30.064-07:00ULTRAMAN MONUMENT UNVEILED IN FUKUSHIMA New Tributes Unveiled in Tsuburaya's Hometown<b>来たぞ我らのウルトラマン像 ! 故・円谷監督の出身地に ...</b><br /><br /><img src="https://lh4.googleusercontent.com/-x_YtOreZxdY/VQtP6aODPcI/AAAAAAAAEoY/tg5lAWuGVpU/s800/Ultra01.jpg" /><br /><i>Mayor Hashimoto with 4-year old Ultra Fan, Kosuke Mastsuzaki.</i><br /><br />On March 1st in <a href="http://www.city.sukagawa.fukushima.jp/" target="_blank">Sukagawa, Fukushima Prefecture</a>, four fiberglass statues were unveiled of Ultraman, Ultra Seven, Gomora and Eleking along the street where the house that <a href="http://www.amazon.com/dp/1452135398" target="_blank">Eiji Tsuburaya</a> (1901-1970) was born in once stood — honoring the birthplace of the legendary film-maker who created the traditional Japanese cinema art form of <i>Tokusatsu</i> (special visual effects). Mayor Katsuya Hashimoto, hopes these installations will help attract more tourism to Sukagawa.<br /><br /><img src="https://lh4.googleusercontent.com/-0i7yYVJ40EQ/VQtQApFyTGI/AAAAAAAAEog/2ySNGilON3M/s800/Ultra02.jpg" /><br /><i>Statue of one of the most popular of all the Ultra heroes, Ultra Seven!</i><br /><br />Interviewed by the <i>Asashi Shimbun's</i> Naoyuki Takahashi, Hashimoto said, "When the Great East Japan Earthquake struck, we had citizens who helped many others rather than dwelling on their own personal disasters. I want our city to be full of such citizens who embody the Ultraman spirit."<br /><br /><img src="https://lh3.googleusercontent.com/-ydCEYWSupq0/VQtP6_6QIXI/AAAAAAAAEoM/Bd9WvltKo2M/s800/Ultra_Statue_Gomora.jpg" /><br /><i>The mighty Gomora roars in the night along peaceful Taimatsu-dori!</i><br /><br />This is not the first cooperative between the city of Sukagawa and Tsuburaya Productions, the company that Eiji built. As part of the 50th Anniversary of the founding of the company, in May of 2013, Sukagawa was&nbsp;officially christened as the Sister City to the "Land of Light," the homeworld of Ultraman in the Nebula — becoming the virtual town of "<a href="http://m78-sukagawa.jp/" target="_blank">Sukagawa M78: Town of Light</a>." With the city hall accepting resident registration applications (!).<br /><br /><img src="https://lh3.googleusercontent.com/-ZXNIfm8C7X8/VQtP6bhiRCI/AAAAAAAAEns/EQCeMcX8yiA/s800/Ultra_Statue_Eleking.jpg" /><br /><i>The eerie Eleking howls during the Full Moon over Sukagawa City!</i><br /><br />This was followed by the unveiling of an actual stone, art deco-style edifice of Ultraman in front of Sukagawa's main train station on July 7, 2013 (<a href="http://augustragone.blogspot.com/2008/07/happy-birthday-eiji-tsuburaya-july-10.html" target="_blank">the fictitious birthdate of Eiji Tsuburaya, which falls on the <i>Tanabata</i></a>), commemorating the "Sister City" status. Of course, there have been Ultraman statues and a permanent exhibit at Fukushima Airport since 2008, including displays with some original props from the pantheon of the long-running series.<br /><br /><img src="https://lh5.googleusercontent.com/-qHfqvYG2s1c/VQtP7_qu7GI/AAAAAAAAEoQ/DdCV38ee_zs/s800/Ultraman_Statue_blog.jpg" /><br /><i>The beautiful art deco-style Ultraman sculpture at Sukagawa Station!</i><br /><br />On December 28, 2014, the first of six "Ultraman Mailboxes" was christened at <a href="http://www.fks-ab.co.jp/" target="_blank">Fukushima Airport</a>, a co-op between Japan Post Co., Ltd., Tsuburaya Productions, and the Fukushima Airport Building Co,, Ltd. Letters and Postcards dropped into these special mailboxes will be postmarked with a special design incorporating Ultraman with Peonies, the official flower of Sukagawa. The others are stationed at various locations around Sukagawa.<br /><br /><img src="https://lh3.googleusercontent.com/-svH3Wb7zbRA/VQtP7LsfeCI/AAAAAAAAEoE/IgmWcvWwY_o/s800/Ultraman_Mailbox_blog.jpg" /><br /><i>Sukagawa's Postmaster drops in the first piece of mail into the box!</i><br /><br />Needless to say, Sukagawa has other, and older tributes to the "Old Man" and his children from the Ultra Series — and while there's always the Soshigaya "Ultraman Town" walk in Tokyo, one really just needs to take a side trip to the birthplace of Eiji Tsuburaya to get closer to where it all began.<br /><br />Only in Japan... (and that's why its awesome.)<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-64103831111343820142015-01-28T00:00:00.000-08:002015-01-28T19:35:18.459-08:00RIDDLE OF "YONGARY, THE GREAT MONSTER"!Could Toei Possess Original Korean Elements?<b>韓国の怪獣映画『大怪獣ヨンガリ』東映の外海配給ポスター !</b><br /><br /><img height="561" src="https://lh3.googleusercontent.com/-gfUc9qKfG0g/VMlHXeB0WOI/AAAAAAAAEko/e-T_6VcX42Q/s800/Yongary_Toei_Poster.jpg" width="400" /><br /><i>Toei's international sales poster for the South Korean monster movie.</i><br /><br />Conceived during Japan's&nbsp;"Monster Boom" of the mid-'60s, the South Korean production of YONGGARY, THE GIANT MONSTER (promoted as "The Great Monster Yongary")&nbsp;was made by the Seoul-based Keukdong Entertainment Company and directed by&nbsp;Kim Ki-duk in 1967, but also employed veterans of Japan's home-grown <i>kaiju eiga</i>, including key members of the effects staff from Daiei Motion Picture Company's Gamera films to helm the miniature effects, as well as Masao Yagi and the staff of Equis Productions to create the monster.<br /><br />American International Pictures picked up the film and released it directly to Stateside television in 1969 as YONGARY, MONSTER OF THE DEEP.&nbsp;While it was readily assumed that YONGARY's worldwide distribution was handled by Keukdong, several sources have listed the involvement of Tokyo-based Toei Company Ltd. in connection with the film. While Toei served as an investor and broker on YONGARY, the&nbsp;foreign&nbsp;sales poster&nbsp;(courtesy of Akira Takiguchi) provides some proof that Toei also handled the international distribution.<br /><br />All things considered, more research should be taken up to unearth as much as possible on the Japanese involvement in this South Korean imitation of the&nbsp;<i>kaiju eiga</i>, as there may be a chance that some of the film's original language elements (woefully incomplete in the Korean Film Archive) may be sleeping deep within some Tokyo film vault... Or did Toei ship everything to American International? Sure, it's not the legendary "bloodier" Japanese version of Hammer's DRACULA (1958), but doesn't YONGARY deserve some love, too?<br /><br /><i><span class="Apple-style-span" style="color: red;">Postscript: While the film was issued last July on R2 DVD in Japan, it was the English-dubbed version, licensed by Run Corporation through MGM as "<a href="http://www.amazon.co.jp/dp/B00LBV4WGU">Daikaiju Yongari</a>." MGM contacted Toei in 2002, and were told that they had no extant materials for YONGARY. Unless Toei turned all of their materials over to AIP, perhaps they are elsewhere (such as the National Film Archive), if not discarded...</span></i><br /><i><span class="Apple-style-span" style="color: blue;"><br /></span></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com1tag:blogger.com,1999:blog-3252368450821139612.post-41157891810887679372015-01-16T15:00:00.000-08:002015-01-16T19:41:32.340-08:00FRIEND OR FOE? ENTER "KAMEN RIDER NO. 3"! Discarded Rider of the '70s Revived for Today<b>幻の仮面ライダー3号が登場 !</b><br /><br /><img src="https://lh6.googleusercontent.com/-Zv3UqXF2pPY/VLm_1x6h5NI/AAAAAAAAEkA/iCluf1HREko/s800/SHGP_KR3_Poster.jpg" /><br /><i>New teaser art for the upcoming film introducing Rider No. 3!</i><br /><br />Fans all know Kamen Rider V3 is the third cybernetic hero, created by Riders No. 1 &amp; No. 2 in his own series in 1973, but the initial concept was very much different. Originally, KAMEN RIDER (1971-1973) would continue, with the 100th episode introducing a new Rider: No. 3! The character was to be an android conceived by the Double Riders to help combat the latest enemy organization, Ghost Shocker! Rider No. 3 only appearred in pages of the October 1972 issue of <i>Tanoshii Yochien</i> (Shogakukan Publishing) in the manga story, "No. 3 Rider vs. Black Shogun" (illustrated by Norihiko Ishikawa), where the character was created by Black Shogun to defeat the Double Riders.<br /><br /><img src="https://lh6.googleusercontent.com/-tH6YZ0JHba4/VLm_1j3yf5I/AAAAAAAAEkE/8XrZJK_lVoc/s800/SHGP_Black_Shogun.jpg" /><br /><i>Former pro-wrestler Nobuhiko Takada plays the new Black Shogun.</i><br /><br />Ultimately, this character was scrapped and KAMEN RIDER V3 was created instead. Now, the discarded hero comes to life in Toei's upcoming feature directed by Takayuki Shibasaki, SUPERHERO WAR GRAND PRIX: KAMEN RIDER NO. 3 (Supahiro Taisen GP: Kamen Rider San-go), opening on March 21, 2015! Noting the broken manacle chains on his wrists, it seems that No. 3 may have the same origin as the '70s manga.&nbsp;While the Kamen Riders have traditionally mounted motorcycles, Rider No. 3 has been granted a car, to tie in with the currently-running series KAMEN RIDER DRIVE (2014) and the "Grand Prix" theme of the film.<br /><br /><img src="https://lh5.googleusercontent.com/-4eNTWmNaz5c/VLm_12nIlnI/AAAAAAAAEkI/MWRGyGeUw3U/s800/SHGP_KR3_Design.jpg" /><br /><i>Kamen Rider No. 3 production design. Note manacles and chains.</i><br /><br />Meanwhile, the design and execution of the costume recalls the re-imagined titular characters featured in the theatrical films KAMEN RIDER: THE FIRST (2005) and KAMEN RIDER: THE NEXT (2007). Any direct tie-in or crossover with the previous pair of stories is unknown at present, but Toei has already produced a number of movies and series in which the "alternate realities" of the Kamen Rider Universes bleed through. Now, Kamen Rider No. 3 comes to life and becomes canon. And in spite of the wildly uneven nature of Toei's seasonal superhero movies, there's no guarantee it will be any better (or worse).&nbsp;Hopefully, if nothing else, the film will be entertaining.<br /><br /><a href="http://www.superhero-movie.com/"><span class="Apple-style-span" style="color: red;"><i>Click to jump to the official website to see the first teaser trailer!</i></span></a><br /><br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-18817233021672120542014-12-12T04:00:00.000-08:002014-12-14T15:23:03.817-08:00"ATTACK ON TITAN" MOVIE POSTER REVEALED! Two-Parter Stomps Into Theaters Next Summer<b>その大きさは…超ド級のGODZILLA超え！</b><br /><br /><img src="https://lh6.googleusercontent.com/-DVxXdRUBTe8/VIwufS-IQZI/AAAAAAAAEgg/fkbFBy86now/s800/AOT_LA_Poster.jpg" /><br /><i>Just-revealed advance poster art's tagline, "The world is cruel."</i><br /><br />Director Shinji Higuchi's highly anticipated live action adaptation of Hajime Isayama's manga and anime series will hit Japanese cinemas nationwide next summer, with not one, but two consecutive feature films bowing in August and September 2015. Today, Toho Company Ltd., which is producing and distributing the film, has revealed the advance movie poster on their <a href="http://www.shingeki-seyo.com/">official movie website</a>.<br /><br />Written by Yusuke Watanabe (<i>20th Century Boys</i>) and critic Tomohiro Machiyama (working with Isayama), both films will feature visual effects directed by veteran Katsuro Onoue (<i>Sinking of Japan</i>), and not Director Higuchi, who is supervising the entire project. Earlier this year, Higuchi teased the film with a viral car commercial featuring a tie-in promotion with the franchise, which led people to believe that he was also directing the visual effects.<br /><br />Toho's PR department also unveiled the tagline, "Its magnitude is... beyond ultra-grade GODZILLA!", capitalizing on the successful Gareth Edwards film adaptation of the Big G, which did impressively at the domestic box office in Japan. And this hyperbole isn't all hype: The film's titular titans tower at 120-meters (390 feet), twice as tall manga and anime counterparts, while Godzilla is 350-feet high.<br /><br />Not to be confused with the second anime feature to be released June 26, 2015, <a href="http://www.shingeki.tv/movie/">ATTACK ON TITAN 2: WINGS OF FREEDOM</a>, audiences will have to see how this colossal conflict between these naked gargantua and the last bastion of humanity plays out next year — will the live action films be a monstrous success or a titanic failure? My money is on Director Higuchi.<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-8336867576389504122014-12-10T12:00:00.000-08:002014-12-11T06:25:32.599-08:00KOICHI KAWAKITA: VISUAL EFFECTS DIRECTOR The Man Who Redefined Godzilla for the 1990s December 5, 1942 - December 5, 2014<b>訃報 川北紘一特撮監督</b><br /><br /><img src="https://lh3.googleusercontent.com/-SI7xChHCiWE/VIjqcbnpAfI/AAAAAAAAEfs/iRnzUD-y2b4/s800/Koichi_Kawakita.jpg" /><br /><br /><span class="Apple-style-span" style="color: red;">UPDATED 12/11:</span> Toho's visual effects director who forged and shaped Godzilla's look for the 1990s, Koichi Kawakita, passed away from liver failure on December 5, 2014, with the family releasing the news today in Japan. Only next of kin are allowed at the funeral (chief mourner is his widow, Shigeko). There will be public a memorial service announced for a later date.<br /><br />Kawakita graduated Nakano Broadcasting High School in 1960 and began his higher education at Kokusai Junior College. Intensely interested in movies, since seeing THE MYSTERIANS (1957), he began working a part-time position at Toho Studios that same year. Offered a full-time position at Toho, he dropped out of college in 1962.<br /><br />Although headhunted for an Executive position, Kawakita expressed his desire to become a member of the Visual Effects Department, and was taken under the wing of Eiji Tsuburaya, the head of that division and the father of <i>Tokusatsu</i> (Japanese Visual Effects). Later, that same year, Kawakita became an assistant visual effects cameraman on GORATH (1962).<br /><br />He was transferred to the flagging optical effects department in 1963, and became engaged in rendering the beams and other optical animation for Tsuburaya's films. In 1965, he assisted in the creation of composites and optical effects for Episode 12 of ULTRA Q, "I Saw a Bird!", which was his first work for a television production.<br /><br />In 1966, he served as an assistant visual effects cinematographer for GODZILLA VS. THE SEA MONSTER (1966).&nbsp;After Tsuburaya's death, he was transferred to Toho's new "Visual Planning Department" in 1971. For GODZILLA VS. HEDORAH, both production units were consolidated into one, and Kawakita served as director Yoshimitsu Banno's 1st Assistant Director and on Optical Effects.<br /><br />Kawakita served as Chief Assistant Visual Effects Director on all of the 1970s Godzilla films, save for GODZILLA VS. GIGAN (1972) and GODZILLA VS. MEGALON (1973), while he worked on the television series ULTRAMAN ACE (1972), ZONE FIGHTER (1973), and JAPAN SINKS (1974). In 1976, he made his impressive film debut as Visual Effects Director on SAMURAI IN THE SKY.<br /><br />While Tsuburaya's 1st AD,&nbsp;Teruyoshi Nakano, was the head honcho, Kawakita was placed in charge of developing and directing the monumental miniature and visual effects for SAYONARA JUPITER (1983) and GUNHED (1989), both rivaling some US-produced effects techniques, before changing the way the world saw the Big G with GODZILLA VS. BIOLLANTE (1989).<br /><br />Kawakita's re-imagining of the monster, a fiercer, more toothsome creature, which set a standard that sits to this day, remains Toho's de facto design of choice. During the 1990s, as head of Toho's Visual Effects Department, his tenure yielded a number of films, television productions,&nbsp;non-film projects and events&nbsp;before he retired from Toho in 2002.<br /><br />One of his dreams was to produce a remake of his favorite Toho visual effects film, THE MYSTERIANS, proposed in 1990, which never came to fruition. As a free agent,&nbsp;Kawakita formed the independent Tokusatsu and VFX company, <a href="http://www.dreamplanet-j.co.jp/">Dream Planet Japan</a> in 2003. His last production was the miniseries <a href="http://www.tv-osaka.co.jp/onair/summary/progid=1229500/">GUNBOT: THE ARMORED ROBOT</a> (2014), which began broadcast in November.<br /><br />Director Kawakita was 72 years old.<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com7tag:blogger.com,1999:blog-3252368450821139612.post-30480875685118679682014-12-07T14:00:00.000-08:002015-03-31T18:10:57.957-07:00THE "JAPANESE GODZILLA" WILL RISE AGAIN! Toho to Produce a New "Godzilla" in 2015<b>元祖「ゴジラ」12年ぶり復活 東宝、2016年公開 !</b><br /><br /><img src="https://lh4.googleusercontent.com/-f1kGrg8xGHE/VITk4LXrKYI/AAAAAAAAEeo/vh0t4jwTSnY/s800/2885171-godzilla_final_wars1.jpg" /><br /><i>Monster Missing: Last seen in GODZILLA FINAL WARS, 2004.</i><br /><br /><span class="Apple-style-span" style="color: red;">SCOOP:</span> It's big and it's terrible, and this incredible news broke just two hours ago in Japan and is spreading like wildfire across the world. And while I didn’t see this one coming, and some may think it could be a hoax, the announcement was published in the Japanese equivalent of the <i>Wall Street Journal</i>, <i><a href="http://www.nikkei.com/article/DGXLASDG06H7C_X01C14A2CR8000/" target="_blank">Nikkei</a>, </i>the respected movie news website, <a href="http://eiga.com/news/20141208/2/">Eiga.com</a>, and Toho's official <a href="http://godzilla.jp/news/1029/">Godzilla</a> website (<i>can't get more official than that</i>) — I've combined elements from several stories and the translations are my own:<br /><br />Toho Company Ltd. will be producing an all-new Godzilla film to be released in 2016. This will be the first “Domestic Godzilla” in 12 years since GODZILLA FINAL WARS (2004).&nbsp;In a press release issued today, Toho announced they’ve launched the “Godzilla Conference” as an organization to discuss and decide a wide range of strategies for promoting the Big G, including, but not limited to motion pictures. The group has also been officially nicknamed, “Godzi-con” (or “Gojikon” in Japanese parlance).<br /><br />Toho vice president and general manager, Satoshi Senda, announced the launch of Godzi-con. Senda was hired by Toho in 1974, working in the film sales and marketing department, and most recently, was in charge of the foreign sales department. With his fellow board of directors, two younger members of the company, having both worked with visual effects-heavy films, Minami Ichikawa (producer of <i>13 Assassins</i>) will serve as Production Manager, and Taiji Ueda (producer of <i>Trick: The Movie ~ Last Stage</i>), who will oversee the group as Project Leader, the Big G’s future may be bright, indeed.<br /><br />"With the success of the Hollywood version of GODZILLA, we decided on a new [domestic] production,"&nbsp;said Mr. Ueda in today’s press statement.&nbsp;The new production will be handled by Toho, in-house. "The screenplay is currently in development and we plan to start shooting next summer. We cannot announce cast or staff selections at this time.&nbsp;And we’re still deliberating whether to bring Godzilla to life via CGI or man-in-suit,” said Mr. Ueda. "This resurrection will be the centerpiece for ’16, and this is the force of our words."<br /><br />"The passionate voices of the fans clamored for a resurrection [of the Japanese Godzilla].&nbsp;We will bring the monster back to Japan, with the high-quality we've given films like [Takashi Yamazaki's]&nbsp;<a href="http://kiseiju.com/">PARASYTE</a> (Kiseiju, 2014). By bringing together our collective know-how, which we’ve been striving for [over the last 12 years], we mustn't lose to Hollywood,"&nbsp;he said with confidence.<br /><br />The Godzi-con also announced that the Big G will also be looming over Tokyo's Kabukicho district. At the former site of the Shinjuku Koma Theater, demolished in 2009,&nbsp;a 12-meter (39-foot) high "Godzilla Head," made of fiberglass and concrete in his likeness from Takao Okawara’s GODZILLA VS. MOTHRA (1992), will be erected on the 8th floor terrance of the new Shinjuku Toho Building, a 31-floor business and theater complex currently under construction, to be unveiled on April 15th.<br /><br />The head will weigh 80 tonnes and from the top of its crown to the street, from the 8th-floor terrance will be 52 meters (170-feet, around the height of the first Godzilla from 1954), thus becoming a new landmark in the Shinjuku Ward, visible from Shinjuku-Yasukuni Street.&nbsp;Adjacent to the Shinjuku Toho Building, will be the brand-new&nbsp;<a href="http://gracery.com/shinjuku/" target="_blank">Hotel Gracery Shinjuku</a>, opening on April 25th, which will be offering a pair of specially-designed <a href="http://gracery.com/shinjuku/godzilla/index.html" target="_blank">"Godzilla Rooms"</a> for its' guests.<br /><br />Mr. Ueda noted that these are just the "first steps" in their new promotion of the Big G, so I guess we can revel in the fact that Godzilla's 60th Anniversary isn't over, it's just beginning!<br /><i><br /></i><i><span class="Apple-style-span" style="color: blue;">Stay tuned for more news as it breaks… Titanic thanks to master kaiju illustrator par excellence, Yuji Kaida, for tipping me off to the news!</span></i><br /><br /><!--EndFragment-->August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com9tag:blogger.com,1999:blog-3252368450821139612.post-78700920820619488112014-12-03T03:00:00.000-08:002014-12-04T13:32:13.446-08:00PREVIEW: HERE ARE THE FIRST 9 MINUTES OF "YAMATO: 2199 ~ ARK OF THE STARS"!<b>ああ「宇宙戦艦ヤマト2199 星巡る方舟」本編冒頭映像 !</b><br /><br /><iframe allowfullscreen="" frameborder="0" height="225" src="//www.youtube.com/embed/nw1C2cmNzBY?rel=0" width="400"></iframe><br /><i>Click over to YouTube to watch this video full screen and in 1080p!</i><br /><br />The Shochiku Motion Picture Company has just uploaded the first nine minutes and thirty-three seconds of the highly-anticipated animated feature-length film, SPACE BATTLESHIP YAMATO: 2199 ~ ARK OF THE STARS, opening nationwide in Japan on December 6th.&nbsp;This all-new adventure takes place between Episodes 24 &amp; 25 of the hit remake of the 1974 space opera, in which the <i>Yamato</i>, returning from Iscandar, encounter a vanguard of Imperial Gatlantis (known in the US as the Comet Empire)! Meanwhile, a rouge force of the Gamilas Empire are pursuing her for revenge... Just watch it, already!<br /><br /><img src="https://lh5.googleusercontent.com/-sLIwlB7K4fk/VH9pKaekPQI/AAAAAAAAEeM/mthjFU8ts7k/s800/45819.jpg" /><br /><i>One of the spectacular theatrical images heralding the new film!</i><br /><br />For the film, composer Akira Miyagawa has penned an instrumental arrangement of the famous theme song, collaborating with world-renown violinist, Taro Hakase, best known outside of Japan for the Celine Dion's song, "To Love You More" (off the album, "Let's Talk About Love").&nbsp;On December 3rd &amp; 4th (Japan Time), the full feature was previewed for 4,000 lucky Japanese fans over the <a href="http://extr.b-ch.com/yamato/" target="_blank">Bandai Channel</a> streaming service — three full days before the theatrical premiere — but thankfully, Shochiku has kindly allowed fans outside of Japan the chance to preview this first reel of ARK OF THE STARS, so&nbsp;enjoy! Japanese-language only.<br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com6tag:blogger.com,1999:blog-3252368450821139612.post-61922501934582550582014-11-19T00:00:00.000-08:002014-11-19T15:42:25.415-08:00BOOK ON GODZILLA'S HEROIC YEARS: 1969-1975"Godzilla 'Toho Champion Matsuri' Perfection"<b>ゴジラが「ぼくらのヒーロー」だった時代！</b><br /><br /><img src="https://lh5.googleusercontent.com/-mQuPQR5HYYs/VGxq2ul6aHI/AAAAAAAAEdc/PxPVimJBzDE/s800/Toho_Champion_Perfection_Cover.jpg" /><br /><i>Spectacular cover for "the" book on the Godzilla films of the '70s!</i><br /><br />Finally, the release of a new photo-filled publication, spotlighting the Big G's heroic exploits from 1969-1975, will hit the shelves of Japanese booksellers on November 18th. After months of waiting, the juggernaut imprint, Kadokawa Publishing, has just released the cover and samples from this eagerly-awaited, 176-page tome on the oft glossed-over period of Godzilla's cinematic history.<br /><br /><img src="https://lh3.googleusercontent.com/-vbxBs-ON4Hc/VGxq01_7WKI/AAAAAAAAEdI/92Blfe6Vokk/s800/Toho_Champion_Page_1.jpg" /><br /><i>Sample page of GODZILLA'S REVENGE (Oru Kaiju Daishingeki, 1969).</i><br /><i><br /></i>The "Toho Champion Matsuri" (or&nbsp;<i>festival</i>) were a series of kiddie matinee packages, comprising a feature film and short subjects (episodes of live action and animated teleseries), answering rival Toei's seasonal "Cartoon Festivals." The inaugural program featured Ishiro Honda's MARCH OF THE MONSTERS (released in the US as <i>Godzilla's Revenge</i> and <i>All Monsters Attack</i>)&nbsp;on December 10, 1969.<br /><br /><img src="https://lh3.googleusercontent.com/-j7jvRtygWmA/VGxq1nsEuTI/AAAAAAAAEdQ/LgCyMnvXP0c/s800/Toho_Champion_Page_2.jpg" /><br /><i>Sample page of GODZILLA VS. GIGAN (Gojira tai Gaigan, 1972).</i><br /><i><br /></i>The following Champion Festivals included digest versions of the 1960s Godzilla films, with one all-new production per year, geared squarely at children. The exception to this rule was Ishiro Honda's GIANT MONSTERS OF THE SOUTH SEAS&nbsp;(known in the US as&nbsp;<i>Yog, Monster from Space</i>&nbsp;and&nbsp;<i>Space Amoeba</i>), a tribute to the late Eiji Tsuburaya recalling Toho's glory days, released on August 1, 1970.<br /><br /><img src="https://lh3.googleusercontent.com/-UdD2_bpR5WA/VGxq106_HOI/AAAAAAAAEdU/QXyMCenfhCM/s800/Toho_Champion_Page_3.jpg" /><br /><i>GODZILLA VS. MECHAGODZILLA (Gojira tai Mekagojira, 1974).</i><br /><br />The new series, depicting the Big G as a decidedly heroic defender of the Earth, began in earnest on July 24, 1971, with Yoshimitsu Banno's trippy GODZILLA VS. HEDORAH (released in the US as <i>Godzilla vs. the Smog Monster</i>). The next original feature was Jun Fukuda's far more conventional GODZILLA VS. GIGAN (released in the US as <i>Godzilla on Monster Island</i>),&nbsp;on March 12, 1972.<br /><br /><img src="https://lh3.googleusercontent.com/-6dHJfdS4QXo/VGxqzBrawuI/AAAAAAAAEcs/e5E5U9d33_A/s800/Champion_Matsuri_Page_4.jpg" /><br /><i>Sections on each of the festivals including promotional materials.</i><br /><i><br /></i>Jun Fukuda's next creature feature, unleashed on March 17, 1973, solidified the Big G's mantle as a <i>kaiju superhero</i> in GODZILLA VS. MEGALO (released in the US as <i>Godzilla vs. Megalon</i>), teaming up in this outlandish, live action cartoon adventure, with an <i>Ultraman</i>-like automaton: Jet Jaguar (or should his name be romanized as "Jet Jaeger"?). Then, our hero faced his bionic double — from space!<br /><br /><img src="https://lh5.googleusercontent.com/-1D9CN4gYYP8/VGxqzCuAdGI/AAAAAAAAEdk/0tEnTpxe-m4/s800/Champion_Matsuri_Page_5.jpg" /><br /><i>Over seven interviews with cast members including Tomoko Ai.</i><br /><i><br /></i>Arguably one of the best rivals created during this period was the centerpiece of Toho's 20th Anniversary Big G actioner, GODZILLA VS. MECHAGODZILLA (released in the US as <i>Godzilla vs. Bionic Monster</i> and <i>Godzilla vs. Cosmic Monster</i>) on March 21, 1974. While a more straight-faced production than MEGALO, the space titanium terror would return for a rematch staged by Ishiro Honda.<br /><br /><img src="https://lh3.googleusercontent.com/-gVAWMIia5iw/VGxqzHaGBvI/AAAAAAAAEdY/v5mFSMNSv8M/s800/Champion_Matsuri_Page_6.jpg" /><br /><i>Special interviews with staff personnel including Teruyoshi Nakano.</i><br /><i><br /></i>Honda's MECHAGODZILLA STRIKES BACK (released in the US as <i>Terror of Godzilla</i> and <i>Terror of Mechagodzilla</i>) on March 15, 1975 was a fitting <i>swan song</i> for the flagging series, stymied by stiff television competition, which was deluged in free <i>kaiju</i> programming. Even though Honda's film harkened back to the glory days of the 1960s, it was too little, too late. The Big G went on vacation.<br /><br /><img src="https://lh4.googleusercontent.com/-PUz-mdL65qs/VGxq0Ak3KtI/AAAAAAAAEc4/PRLHszQwoRc/s800/Champion_Matsuri_Page_7.jpg" /><br /><i>Archival interviews with late staff personnel including Ishiro Honda.</i><br /><i><br /></i>By 1975, the Champion Festivals had gone from seasonal to annual programs which only showcased revivals of the classic films through 1978 (including one Disney line-up featuring <i>Peter Pan</i> in 1976 and&nbsp;a double feature of <i>Latitude Zero</i> and <i>Mothra</i> in 1977), ending with an uncut reissue of Honda's 1957 classic, THE EARTH DEFENSE FORCE (released in the US as <i>The Mysterians</i>) on March 18, 1978.<br /><br /><img src="https://lh4.googleusercontent.com/-HiXru_5ACyk/VGxq0uW5l_I/AAAAAAAAEc8/HiWP_vKZZk4/s800/Champion_Matsuri_Page_8.jpg" /><br /><i>Detailed overviews of four unmade Champion Festival Godzilla films.</i><br /><br />While there have been several in-depth, historical overviews of the Big G's cinematic history, most revere the early, and more favored, films of Honda and Tsuburaya, with cursory coverage of the '70s entries. Now, we've got an entire book devoted to them in minutia; a veritable, "Everything You Wanted to Know About the '70s Godzilla, But Were Afraid to Ask" (well, if you can read Japanese, that is)!<br /><br /><i>So, if you've seen or own Kadokawa's previous publications of&nbsp;<a href="http://www.amazon.co.jp/dp/4048861190" target="_blank">"Heisei Godzilla Perfection"</a>&nbsp;or <a href="http://www.amazon.co.jp/dp/4048918818" target="_blank">"Heisei Gamera Perfection"</a>, you know how good this one is going to be (jammed with amazing photographs and measuring&nbsp;11.3"x 8.3").&nbsp;Fortunately, you don't need to live in Tokyo to get one — pre-order your own copy of <a href="http://www.amazon.co.jp/dp/4048669990" target="_blank">"Godzilla 'Toho Champion Matsuri' Perfection"</a>&nbsp;direct from <a href="http://www.amazon.co.jp/In-English/b?ie=UTF8&amp;node=1094656" target="_blank">Amazon Japan</a> for only $36.08!</i><br /><i><br /></i><i>You'll thank me later. You're welcome.</i><br /><i><br /></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com2tag:blogger.com,1999:blog-3252368450821139612.post-70348824231821038382014-11-10T00:00:00.000-08:002014-11-11T05:29:10.739-08:00"GODZILLA" ROARS AGAIN ON VINYL RECORDS! King Records' Limited Edition Soundtrack LPs<b>伊福部昭生誕100年、ゴジラ誕生60周年記念企画 !&nbsp;</b><br /><br /><img src="https://lh5.googleusercontent.com/-VlOHXkLBzeg/VGHaVTlGccI/AAAAAAAAEbo/GCA7skQTVxs/s800/G54_LP_blog.jpg" /><br /><i>The retro jacket for King Records' GODZILLA Original Soundtrack!</i><br /><br />For those who were excited by <a href="http://deathwaltzrecordingcompany.com/" target="_blank">Death Waltz</a>’s limited-edition vinyl LP for the Akira Ifukube original soundtrack for&nbsp;<a href="http://augustragone.blogspot.com/2014/05/death-waltz-unveils-godzilla-lp-jacket.html" target="_blank">GODZILLA</a> (1954), but lost out on getting a copy, you can now rejoice: Japanese label, <a href="http://www.kingrecords.co.jp/" target="_blank">King Records</a> is gearing up to issue an analog release of their very own, along with the same for Ifukube’s KING KONG VS. GODZILLA (1962), as the “first complete limited-edition pressings” in Japan, on 180g vinyl LPs, just in time to celebrate both Ifukube’s centennial and the Big G’s 60th anniversary.<br /><br /><div class="MsoNormal"><img src="https://lh5.googleusercontent.com/-FVHwXvIp-aw/VGHaYpJZw0I/AAAAAAAAEbw/Vd-Y_Eh4BiE/s800/KKVSG_LP_blog.jpg" /></div><div class="MsoNormal"><i>1960s Japanese movie poster vibe for KING KONG VS. GODZILLA!</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">For their first release, <a href="http://www.amazon.co.jp/dp/B00NQC8PAG" target="_blank">GODZILLA</a> (KIJS-90015; 22 tracks, 37 minutes), King Records has gone back to the original 6mm master tapes, and striving for the best-ever sound quality, have employed the latest in mastering technology to match the warmth of the original masters as closely as possible. As for <a href="http://www.amazon.co.jp/dp/B00NQC8O6G" target="_blank">KING KONG VS. GODZILLA</a> (KIJS-90016; 33 tracks, 50 minutes), the originals have been mixed down from the unprecedented 4-channel stereophonic masters to 2-channel stereo for the first time. The unique depth of the heavy bass has now been fully and faithfully reproduced for the first time&nbsp;(using the original 35mm film magnetic tapes as a guide).</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><img src="https://lh5.googleusercontent.com/-NVMnSDVt5Ks/VGHaVTZSjeI/AAAAAAAAEbk/duY3misU92c/s800/Gojira_master_tapes.jpg" /></div><div class="MsoNormal"><i>The&nbsp;6mm master tapes for GODZILLA with the original track listings!</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal">Past and present CD releases, though forms of processing, including equalizing, frequencies, and other digital restrictions, could not fully represent the information native in the master tapes — therefore, the main impetus of the project was to replicate the original sound as closely as possible, in the name of posterity and for the heritage of Japanese film music. As for the jackets, it was decided to go with a retro-vintage design; GODZILLA sports art that mimics the 1954 theatrical program book, while KING KONG VS. GODZILLA apes the color and feel of the early-to-mid 1960s movie posters.&nbsp;Both LPs will street on December 24, 2014 for ¥3,600 Yen ($32.00 USD).<br /><br /><i>Please click the above-embedded links to order from Amazon Japan. It's unknown at press time whether there will be further LPs in this series, but if sales are strong, we could see MOTHRA VS. GODZILLA and GHIDRAH, THE THREE-HEADED MONSTER.&nbsp;To quote Debbie Harry, dreamin' is free...</i></div><div class="MsoNormal"><br /></div><!--EndFragment-->August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0tag:blogger.com,1999:blog-3252368450821139612.post-31596354804697337372014-11-02T00:00:00.000-07:002014-11-16T16:13:17.187-08:00HAPPY 60th ANNIVERSARY, GODZILLA! King of Monsters Debuted on November 3, 1954<b>ゴジラ生誕60年のアニバーサリー !</b><br /><br /><img src="https://lh4.googleusercontent.com/-xfYlF5QcwzU/VGHbDf-dtVI/AAAAAAAAEcE/NN5tYRkl7go/s800/Godzilla_60th_blog.jpg" /><br /><i>You're not getting older, Big G — you're getting better!</i><br /><br />Has it really been 60 years since Godzilla was loosened upon the world? I remember when the Big G turned 25 in 1979, and since I was born long after 1954, it felt like he had been around an eternity from my young perspective. There was no time before him from my frame of reference. I grew up with Godzilla and he was already eternal. Little did we know that when I was growing up, Godzilla’s time was nigh; the first cycle of films that started in 1954 would be winding down by 1975. How could Godzilla not continue? His popularity in the US was at an all-time high — we still hadn’t gotten any of the films following GODZILLA VS. HEDORAH (1971) — he dominated local television, the pages of <i>Famous Monsters</i> and <i>The Monster Times</i>, and our thoughts.<br /><br />As young Godzilla freaks, we drew pictures, created new monsters, and played with his toys (or made our own from dinosaurs figures) —&nbsp;even using the Aurora plastic model kit — but if you were lucky to live in Hawaii or California, you could buy what the kids in Japan had: 8” tall, soft vinyl “monster dolls” (we used to call them) with the iconic “Bullmark” logo branded on the bottom of their feet. As some of us got older, and remained fans, we organized, we started fan clubs, newsletters, fanzines, and hosted screenings. I was lucky to be retained as the “Godzilla/Japanese Film Expert” for our local horror host, <a href="http://augustragone.blogspot.com/2009/01/bob-wilkins-of-creature-features-is.html" target="_blank">Bob Wilkins</a>, who had me talk about these films and television series on his shows, <a href="http://www.bobwilkins.net/creaturefeatures.htm" target="_blank">“Creature Features”</a> and <a href="http://www.bobwilkins.net/captaincosmic.htm" target="_blank">“Captain Cosmic,”</a> thus pushing me in this direction.<br /><br />The later films came, starting with GODZILLA VS. MEGALON in 1976 (our nation’s bicentennial), and his fans were legion, making the film a box office hit: There was no doubt that the Big G was the "King of the Monsters." Until the summer of 1977. STAR WARS exploded box office records around the world and Godzilla became an old hat, “So, 'last year.'” Even so, I —&nbsp;and others like me across North America — didn’t give up on our mon-star. Long before the Internet, we kept in contact through letters, fanzines, and phone calls. Still, even though Godzilla had been popular, he was looked down upon by many people — whether it was by those who still had a grudge against Japan or science fiction fans who saw the films as subpar — and so those of us who remained loyal, also had to be fiercely protective (not defensive) of the character and the films.<br /><br />There were promises of revival movies that never materialized: “The Resurrection of Godzilla,” “Godzilla vs. the Devil,” and several US attempts, including a semi-remake, “Godzilla, King of the Monsters! 3D” (written by Fred Dekker and to be helmed by Steve Miner, which was more <i>Gorgo</i> than <i>Godzilla</i>). Finally, by the swelling nostalgic popularity at home, with record merchandise and&nbsp;home video&nbsp;sales, Toho announced an all-new Godzilla for 1984… It was a tenuous return, but one that would eventually spawn another thirteen films over the next two decades. In the 1990s, a new generation of US fans discovered the Big G and loved him. Old Timers discovered these new films, and new fanzines sprung up, as well as several conventions devoted to <i>kaiju eiga</i>.<br /><br />This brave new fandom did not fade away, it has become stronger through cable and home video, the web, events and social networks. This has also grown to be embraced by those who just love monster movies and fantastic cinema — unscathed by the Roland Emmerich debacle —&nbsp;the reception to both editions of my book, <a href="http://www.amazon.com/Eiji-Tsuburaya-Monsters-Defending-Ultraman/dp/1452135398" target="_blank">“Eiji Tsuburaya: Master of Monsters”</a> (<a href="http://www.chroniclebooks.com/" target="_blank">Chronicle Books</a>) has been phenomenal. New comic books, following in the footstomps those of the ‘70s and ‘90s, have taken off with a new, rabid following. And this summer's megabucks spectacle from Gareth Edwards won hearts and minds across the globe.<br /><br />Everyone seems to have gone gaga for Godzilla. The Big G, kith and kin, have finally become “cool” (but we knew that already).&nbsp;After all, not only is Godzilla the first and greatest true <i>kaiju</i> ever to grace a motion picture screen, he is the one and true "King of the Monsters" —&nbsp;<i>long live the king!</i><br /><i><br /></i><i><span class="Apple-style-span" style="color: red;">Dedicated to the memory of my childhood pal, Eric Worth</span></i><br /><i><br /></i>August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com1tag:blogger.com,1999:blog-3252368450821139612.post-74361983674370779512014-10-27T00:00:00.000-07:002014-10-31T19:24:27.061-07:00THE 31 DAYS OF HALLOWEEN: DAY 27! Harvey Hart's Dark Intruder (1965)<b>Halloween 2014 is dedicated to beloved Horror Host, Bob Wilkins!</b><br /><br /><img src="https://lh6.googleusercontent.com/-IRwksCxEgQM/VFQ7Ciw3TQI/AAAAAAAAEa8/xhpjaC8ceH8/s800/dark_intruder_blog.jpg" /><br /><i>KTVU's "Creature Features" presentation on March 3, 1973!</i><br /><br /><i><b><span class="Apple-style-span" style="color: orange;">"On the twenty-seventh day of Halloween, my true blood gave to me, twenty-seven ancient demons, twenty-six vampire maidens, twenty-five monkey brains, twenty-four missing corpses, twenty-three bubbling caverns, twenty-two immortal curses, twenty-one bloody vamps, twenty cobwebbed corridors, nineteen bats flying, eighteen butcher chops, seventeen premonitions, sixteen bullets silver, fifteen limbs severed, fourteen Igors fluting, thirteen nightmares tormenting, twelve hunchbacks helping, eleven brains transplanting, ten ghouls feeding, nine yetis chilling, eight mummies crumbling, seven monsters growling, six feathered freaks, five undead things, four maniacs, three evil kisses, two fiendish hands, and an atomic voodoo zombie!"</span></b></i><br /><br />August Ragonehttp://www.blogger.com/profile/11708963205755568342noreply@blogger.com0